Journal of the Plainsong and Mediaeval Music Society, 1986
This catalogue is designed as a supplement to those of Melnicki, Bosse, Thannabaur and Schildbach... more This catalogue is designed as a supplement to those of Melnicki, Bosse, Thannabaur and Schildbach. The latter have for years served as the indispensable basis for research on repertories of ordinary of mass chants in medieval Europe. They were compiled with the aid of the microfilms available in the Sta'blein collection at Erlangen-NUrnberg University. This splendid collection was somewhat deficient in English sources at the time when the catalogues were compiled (only Schildbach's catalogue had more than four), and the need for supplementary lists covering English manuscripts has long been felt. The present catalogue attempts to provide these, and also rounds out the coverage in North France generally and in Sicily and Norman South Italy. 77 sources are accounted for, 4 of which have two layers of material and thus receive two separate listings. 18 of them were covered by Melnicki, 11 by Bosse, 23 by Thannabaur and 29 by Schildbach. In addition, a handful have been studied by Ronnau and Falconer for their Gloria tropes and by Iversen for their Agnus tropes.
Journal of the Plainsong and Mediaeval Music Society, 1981
Several writers – most notable among the recent ones being Max Lütolf, Rudolf Flotzinger and Edwa... more Several writers – most notable among the recent ones being Max Lütolf, Rudolf Flotzinger and Edward Roesner – have commented on the choice of liturgical chants set in the additions to the main layer of Parisian polyphony in W1. The point of such comment is that by tracing concordances for those liturgical chants a clearer idea may be gained of the affiliations of W1 among the chant traditions of Britain and North France. The additions to W1 are more useful for this purpose than the main body of organa. The latter are settings of chants which were for the most part very widely known. Relatively few of them are unusual enough to permit speculation about the church for which W1 was compiled, or about the liturgical use to which it most nearly corresponds. So far as the organa are concerned, I do not feel that much advance can be made upon the careful discussion in Professor Roesner's article.
The changing repertory in the early manuscripts The three early sources which can confidently be ... more The changing repertory in the early manuscripts The three early sources which can confidently be assigned to the monastery of St Emmeram at Regensburg-Bamberg Staatsbibliothek lit. 6, Munich Bayerische Staatsbibliothek elm 14083 and 14322-have by no means identical trope repertories. The provenance of the manuscripts is hardly contestable. Bamberg 6 was probably written in the closing years of the 10th century. If Bischoff is correct, 1 elm 14083 belongs to the reign of abbot Burkhard, 1031-7, while elm 14322 is slightly more recent. If these manuscripts contain all the tropes that were sung at the time of their compilation, then the St Emmeram repertory must have been revised from time to time, twice within half a century, in fact. The tropes in Bamberg 6 do not extend over the whole year but only as far as Easter. Additional pieces were then entered for Easter itself, for Ascension and the Nativity of the Virgin. There are only Introit tropes. In elm 14083 there has been a fairly systematic attempt to provide for all the main feasts of the church year, and the 10 David Bjork, "Early settings of the Kyrie eleison and the problem of genre definition",
I have been up to London to get the book I am writing, out of the British Museum. I have got a lo... more I have been up to London to get the book I am writing, out of the British Museum. I have got a lot of it out, and I shall go again presently to get some more; and when I have got it all, there will be another book ... So many people were there, getting out their books. It doesn't seem to matter everything's being in books already: I don't mind it at all. There are attendants there on purpose to bring it to you. That is how books are made, and it is difficult to think of any other way. I mean the kind called serious . . . No doubt the author of any reference book such as the present one could echo the sentiments of Miss Charity Marcon, in Ivy Compton-Burnett's Daughters and Sons. A great deal of my book is indeed got out of others, as the bibliography and references in the text make clear. What justification is there for this, and what is the purpose of the book? In the first place I wished to provide a book of reference both for those coming new to plainchant and for those needing guidance in the specialist literature. The book starts with the assumption, reasonable in this secular age, that many things about the liturgy and its plainchant, even quite basic matters, are unfamiliar to the reader. At every stage in the encounter with plainchant one comes up against specialist terminology and concepts which constitute a real obstacle. That is in the nature of the subject, for ecclesiastical ritual is essentially exclusive, remote from everyday experience, reserved for specially trained personnel. To start with essentials does not mean, however, that difficulties have been avoided. I have not, I hope, confused inexperience with lack of intelligence. The reader will encounter here many complex problems, both those for which scholars have found solutions and others which remain obscure. I have also illustrated techniques of research and given examples, not just of the music in plainchant sources, but also of their make-up, the way they deploy their material, and their notation. Those with access to well-equipped libraries will find here sufficient references to further specialist literature. But I have also tried to make the book self-explanatory, and well enough illustrated, so that it will be useful also to anyone interested in and able to read music. Such a book fulfils a need primarily because of the enormous expansion of plainchant studies in the last few decades. The last major work of synthesis in the English language, Apel's Gregorian Chant, is now over thirty years old. It has not, of course, been my intention to try and replace Apel, let alone the more comprehensive Einfuhrung in die gregorianischen Melodien by Peter Wagner from before the First World War, both of which remain indispensable. But much has been explored and discovered since their day. The best modern survey, the article 'Plainchant' by viii Preface Kenneth Levy and John Emerson in The New Grove Dictionary, is necessarily brief (but with an excellent bibliography). The writings of scholars such as the late Bruno Stablein-his Schriftbild der einstimmigen Musik and articles in Die Musik in Geschichte und Gegenwart-together practically constitute a textbook on chant. But an up-to-date one-volume work is clearly required. The compression and omissions entailed in such a work are the least pleasant things facing an author. For my own undoubted sins of omission I have tried to make amends in the bibliography, by citing literature to which I could not do justice in the main text. The bibliography should go some way towards being a reference tool in itself. In writing the book I tried to take into account literature up to 1990. I take this opportunity to mention the recent appearance of a new chant bibliography with over 4,200 items by Thomas Kohlhase and Giinther Michael Paucker, in Beitrage zur Gregorianik, 9-10 (1990). To one work which appeared when the main text was all but complete, but whose contents I knew intimately, I have made no reference. I acted as co-editor with Richard Crocker of the new edition of The New Oxford History of Music, ii: The Early Middle Ages to 1300 (Oxford, 1989), and it was not always easy to avoid unconscious borrowing from it. At any rate, that volume now takes its place beside Wagner, Apel, and Stablein's Schriftbild as an essential part of the chant scholar's library. Historical writing about plainchant is a relatively young phenemonon. Prince-Abbot Martin Gerbert's De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus of 1774, the ancestor of all musicological writing on plainchant, was motivated by the desire to stimulate reforms in the church music of his own time. Knowledge of the past would make men conscious of the malpractices of the present: T desire ... to lay open to view the astounding abuses in these matters, which in my opinion are the gravest in the discipline of our church' (quoted in p. lviii* of Othmar Wessely's introduction to the 1968 reprint of Gerbert's work). The work of the great restorers of the late nineteenth and early twentieth centuries was imbued with the spirit of reform, to be achieved, as with Gerbert, through recovery of a former ideal state. Work which is of incalculable value for musicologists sprang from these reforming efforts: the series of facsimiles Paleographie musicale, the volumes of Ij? Graduel romain, the studies of notational practices made by Dom Eugene Cardine and his pupils (I cite here only a few examples from the work of monks of the French Benedictine monastery of Solesmes). However, the fact that more than musicology was involved inevitably affected the selection of information and the use to which it was put. This type of counterpoint between scholars and their material is of course common to all scholarship. In the case of chant studies the consequences of different viewpoint and purposes can be appreciated by comparing Cardine's 'Vue d'ensemble sur le chant gregorien' and Levy and Emerson's 'Plainchant'. The researches of the Benedictine fathers also had a definite practical purpose: the provision of model, definitive chant-books for use in the Roman Church. Consequently, their work was concerned with those chants sung in the Roman liturgy of their own time, but not with parts of the repertory, such as sequences and tropes, which were no Preface IX longer admitted, though important in the Middle Ages. In recent years mostly lay scholars have devoted considerable energy to those repertories, and it is perhaps not fanciful to see this partly as a reaction against the bias of earlier chant studies. In my own case, it led among other things to a decision to transcribe all musical examples from original sources, rather than rely on modern service-books, slight though the differences between them may sometimes be. A great deal of the satisfaction gained from writing a book such as this comes from sorting out problems in one's own mind, for, as the renowned author of a monograph on Lassus succinctly expressed it: 'Nothing clears up a case so much as stating it to another person.' Yet even more satisfying has been the ever-increasing wonderment at the variety and richness of the chant repertory, a delight to anyone working in the area. I hope that the musical examples, at least, will help further the appreciation of these treasures. Like Miss Marcon, I owe a considerable debt to the British Library, but also to the Anselm Hughes Library of Royal Holloway and Bedford New College, University of London, where I once taught; to the University of London Library at Senate House, and more recently to the Universitatsbibliothek of Regensburg University, where I now teach. Many of my musical examples were transcribed from microfilms, work with which has in many cases been made possible by grants from the Central Research Fund of the University of London. My principal debt is to the numerous fellow chant scholars from whom I have learned over the years, many of whom could have written a better book than this. It is the fate of textbooks to be used for target-practice, as it were, by better-informed teachers, but I hope my colleagues will find here something they can set before their students with reasonable confidence. Above all, I hope the book will straighten the path of those who, like myself a couple of decades ago, are trying to find their way in an initially foreign, often bewildering, but always fascinating and rewarding musical world. I am most grateful to the libraries which kindly supplied photographs for the plates. Plates 1, 4-6, 8-9, 11-14, and 18 are published by permission of the British Library; plates 2, 7, and 16 by permission of the Bodleian Library; plate 10 by permission of the Syndics of Cambridge University Library; plate 15 by permission of the Master and Fellows of University College, Oxford; and plate 17 by permission of Edinburgh University Library. In conclusion I wish to thank those who have played an especially important part in the production of the book: Malcolm Gerratt, who launched the project and fanned it along for several years; Bruce Phillips, who brought it into the safe haven of Oxford University Press, and the staff of OUP, especially Leofranc Holford-Strevens and Bonnie Blackburn, who did far more for the book than an author has a right to expect from his copy-editor. Greatest of all is my debt to my wife Ann, without whose patience and encouragement I should never have reached the end of the long voyage. D.H. CONTENTS Analytical Table xii List of Illustrations xxi List of Tables xxii List ofMusic Examples xxi v Note on Music Examples xxx Abbreviations xxxi Bibliography xxxiii I. Plainchant in the Liturgy 1 II. Chant Genres 46 III. Liturgical Books and Plainchant Sources IV. Notation Plates V. Plainchant and Early Music Theory VI. Plainchant up to the Eighth Century VII. The Carolingian Century VIII. Gregorian Chant and Other Chant Repertories IX. Persons and Places X. Reformations of Gregorian Chant XI. The...
A manuscript of the 15th century in the Bayerische Staatsbibliothek, M u n i c h , elm [= codex l... more A manuscript of the 15th century in the Bayerische Staatsbibliothek, M u n i c h , elm [= codex latinus monacensis] 14872, from St. Emmeram's, Regensburg, contains Vitae and liturgical offices of three saints specially venerated in Regensburg: Emmeram, Wolfgang and Denis. Fortunately, the chants are provided in elm 14872 with staff notation. There are also 11th-century sources with neume notation for the Emmeram and Denis offices, but not for the Wolfgang office. The music of the Wolfgang office has been published in transcription by Franz Stein, while the others remain unedited, although the text of the Emmeram office was published in A c t a Sanctorum. 1 I would like first of all to sketch in the historical background to these offices when and why they were composed and then I shall venture a few brief remarks about their compositional technique. The authors of the Emmeram and Denis offices have been known for some time, and there are strong indications, both documentary and s...
Page 1. The Norman Chant Traditions-Normandy, Britain, Sicilyl DAVID HILEY FOR practical reasons,... more Page 1. The Norman Chant Traditions-Normandy, Britain, Sicilyl DAVID HILEY FOR practical reasons, this paper concerns not the complete corpus of' Norman liturgical books, but simply those which contain music for mass ...
Balther of Säckingen was a remarkable scholar, writer and composer, who was born about 930, made ... more Balther of Säckingen was a remarkable scholar, writer and composer, who was born about 930, made bishop of Speyer in 970, and died in 986 or 987. Educated at the famous monastery in St. Gallen, he went as a wandering student in search of learning as far as North Spain. He had a special veneration for St Fridolin, founder of a convent in Säckingen. On his travels Balther found a copy of a Life of St Fridolin, memorized it, wrote it down on his return home, composed chants to be sung on the feast day of the saint, and sent both the Life (vita) and the chants (historia) to one of his former teachers at St. Gallen for approval. Balther says he composed them “per musicam artem”, “according to the art of music”. This paper tells how Balther’s chants came to be composed and compares them with others in order to understand what was considered to be “musical art” around 970.
... later owned by Arthur and Anthony II; parishes of St. Katherine Coleman and St. ... London) I... more ... later owned by Arthur and Anthony II; parishes of St. Katherine Coleman and St. ... London) In a recent EM article. 16th-century Venetian Wind Instrument Makers and Their Clients',1 Giulio M.Ongaro traces the origins of the Venetian Bassano family of instrument makers. ...
Journal of the Plainsong and Mediaeval Music Society, 1986
This catalogue is designed as a supplement to those of Melnicki, Bosse, Thannabaur and Schildbach... more This catalogue is designed as a supplement to those of Melnicki, Bosse, Thannabaur and Schildbach. The latter have for years served as the indispensable basis for research on repertories of ordinary of mass chants in medieval Europe. They were compiled with the aid of the microfilms available in the Sta'blein collection at Erlangen-NUrnberg University. This splendid collection was somewhat deficient in English sources at the time when the catalogues were compiled (only Schildbach's catalogue had more than four), and the need for supplementary lists covering English manuscripts has long been felt. The present catalogue attempts to provide these, and also rounds out the coverage in North France generally and in Sicily and Norman South Italy. 77 sources are accounted for, 4 of which have two layers of material and thus receive two separate listings. 18 of them were covered by Melnicki, 11 by Bosse, 23 by Thannabaur and 29 by Schildbach. In addition, a handful have been studied by Ronnau and Falconer for their Gloria tropes and by Iversen for their Agnus tropes.
Journal of the Plainsong and Mediaeval Music Society, 1981
Several writers – most notable among the recent ones being Max Lütolf, Rudolf Flotzinger and Edwa... more Several writers – most notable among the recent ones being Max Lütolf, Rudolf Flotzinger and Edward Roesner – have commented on the choice of liturgical chants set in the additions to the main layer of Parisian polyphony in W1. The point of such comment is that by tracing concordances for those liturgical chants a clearer idea may be gained of the affiliations of W1 among the chant traditions of Britain and North France. The additions to W1 are more useful for this purpose than the main body of organa. The latter are settings of chants which were for the most part very widely known. Relatively few of them are unusual enough to permit speculation about the church for which W1 was compiled, or about the liturgical use to which it most nearly corresponds. So far as the organa are concerned, I do not feel that much advance can be made upon the careful discussion in Professor Roesner's article.
The changing repertory in the early manuscripts The three early sources which can confidently be ... more The changing repertory in the early manuscripts The three early sources which can confidently be assigned to the monastery of St Emmeram at Regensburg-Bamberg Staatsbibliothek lit. 6, Munich Bayerische Staatsbibliothek elm 14083 and 14322-have by no means identical trope repertories. The provenance of the manuscripts is hardly contestable. Bamberg 6 was probably written in the closing years of the 10th century. If Bischoff is correct, 1 elm 14083 belongs to the reign of abbot Burkhard, 1031-7, while elm 14322 is slightly more recent. If these manuscripts contain all the tropes that were sung at the time of their compilation, then the St Emmeram repertory must have been revised from time to time, twice within half a century, in fact. The tropes in Bamberg 6 do not extend over the whole year but only as far as Easter. Additional pieces were then entered for Easter itself, for Ascension and the Nativity of the Virgin. There are only Introit tropes. In elm 14083 there has been a fairly systematic attempt to provide for all the main feasts of the church year, and the 10 David Bjork, "Early settings of the Kyrie eleison and the problem of genre definition",
I have been up to London to get the book I am writing, out of the British Museum. I have got a lo... more I have been up to London to get the book I am writing, out of the British Museum. I have got a lot of it out, and I shall go again presently to get some more; and when I have got it all, there will be another book ... So many people were there, getting out their books. It doesn't seem to matter everything's being in books already: I don't mind it at all. There are attendants there on purpose to bring it to you. That is how books are made, and it is difficult to think of any other way. I mean the kind called serious . . . No doubt the author of any reference book such as the present one could echo the sentiments of Miss Charity Marcon, in Ivy Compton-Burnett's Daughters and Sons. A great deal of my book is indeed got out of others, as the bibliography and references in the text make clear. What justification is there for this, and what is the purpose of the book? In the first place I wished to provide a book of reference both for those coming new to plainchant and for those needing guidance in the specialist literature. The book starts with the assumption, reasonable in this secular age, that many things about the liturgy and its plainchant, even quite basic matters, are unfamiliar to the reader. At every stage in the encounter with plainchant one comes up against specialist terminology and concepts which constitute a real obstacle. That is in the nature of the subject, for ecclesiastical ritual is essentially exclusive, remote from everyday experience, reserved for specially trained personnel. To start with essentials does not mean, however, that difficulties have been avoided. I have not, I hope, confused inexperience with lack of intelligence. The reader will encounter here many complex problems, both those for which scholars have found solutions and others which remain obscure. I have also illustrated techniques of research and given examples, not just of the music in plainchant sources, but also of their make-up, the way they deploy their material, and their notation. Those with access to well-equipped libraries will find here sufficient references to further specialist literature. But I have also tried to make the book self-explanatory, and well enough illustrated, so that it will be useful also to anyone interested in and able to read music. Such a book fulfils a need primarily because of the enormous expansion of plainchant studies in the last few decades. The last major work of synthesis in the English language, Apel's Gregorian Chant, is now over thirty years old. It has not, of course, been my intention to try and replace Apel, let alone the more comprehensive Einfuhrung in die gregorianischen Melodien by Peter Wagner from before the First World War, both of which remain indispensable. But much has been explored and discovered since their day. The best modern survey, the article 'Plainchant' by viii Preface Kenneth Levy and John Emerson in The New Grove Dictionary, is necessarily brief (but with an excellent bibliography). The writings of scholars such as the late Bruno Stablein-his Schriftbild der einstimmigen Musik and articles in Die Musik in Geschichte und Gegenwart-together practically constitute a textbook on chant. But an up-to-date one-volume work is clearly required. The compression and omissions entailed in such a work are the least pleasant things facing an author. For my own undoubted sins of omission I have tried to make amends in the bibliography, by citing literature to which I could not do justice in the main text. The bibliography should go some way towards being a reference tool in itself. In writing the book I tried to take into account literature up to 1990. I take this opportunity to mention the recent appearance of a new chant bibliography with over 4,200 items by Thomas Kohlhase and Giinther Michael Paucker, in Beitrage zur Gregorianik, 9-10 (1990). To one work which appeared when the main text was all but complete, but whose contents I knew intimately, I have made no reference. I acted as co-editor with Richard Crocker of the new edition of The New Oxford History of Music, ii: The Early Middle Ages to 1300 (Oxford, 1989), and it was not always easy to avoid unconscious borrowing from it. At any rate, that volume now takes its place beside Wagner, Apel, and Stablein's Schriftbild as an essential part of the chant scholar's library. Historical writing about plainchant is a relatively young phenemonon. Prince-Abbot Martin Gerbert's De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus of 1774, the ancestor of all musicological writing on plainchant, was motivated by the desire to stimulate reforms in the church music of his own time. Knowledge of the past would make men conscious of the malpractices of the present: T desire ... to lay open to view the astounding abuses in these matters, which in my opinion are the gravest in the discipline of our church' (quoted in p. lviii* of Othmar Wessely's introduction to the 1968 reprint of Gerbert's work). The work of the great restorers of the late nineteenth and early twentieth centuries was imbued with the spirit of reform, to be achieved, as with Gerbert, through recovery of a former ideal state. Work which is of incalculable value for musicologists sprang from these reforming efforts: the series of facsimiles Paleographie musicale, the volumes of Ij? Graduel romain, the studies of notational practices made by Dom Eugene Cardine and his pupils (I cite here only a few examples from the work of monks of the French Benedictine monastery of Solesmes). However, the fact that more than musicology was involved inevitably affected the selection of information and the use to which it was put. This type of counterpoint between scholars and their material is of course common to all scholarship. In the case of chant studies the consequences of different viewpoint and purposes can be appreciated by comparing Cardine's 'Vue d'ensemble sur le chant gregorien' and Levy and Emerson's 'Plainchant'. The researches of the Benedictine fathers also had a definite practical purpose: the provision of model, definitive chant-books for use in the Roman Church. Consequently, their work was concerned with those chants sung in the Roman liturgy of their own time, but not with parts of the repertory, such as sequences and tropes, which were no Preface IX longer admitted, though important in the Middle Ages. In recent years mostly lay scholars have devoted considerable energy to those repertories, and it is perhaps not fanciful to see this partly as a reaction against the bias of earlier chant studies. In my own case, it led among other things to a decision to transcribe all musical examples from original sources, rather than rely on modern service-books, slight though the differences between them may sometimes be. A great deal of the satisfaction gained from writing a book such as this comes from sorting out problems in one's own mind, for, as the renowned author of a monograph on Lassus succinctly expressed it: 'Nothing clears up a case so much as stating it to another person.' Yet even more satisfying has been the ever-increasing wonderment at the variety and richness of the chant repertory, a delight to anyone working in the area. I hope that the musical examples, at least, will help further the appreciation of these treasures. Like Miss Marcon, I owe a considerable debt to the British Library, but also to the Anselm Hughes Library of Royal Holloway and Bedford New College, University of London, where I once taught; to the University of London Library at Senate House, and more recently to the Universitatsbibliothek of Regensburg University, where I now teach. Many of my musical examples were transcribed from microfilms, work with which has in many cases been made possible by grants from the Central Research Fund of the University of London. My principal debt is to the numerous fellow chant scholars from whom I have learned over the years, many of whom could have written a better book than this. It is the fate of textbooks to be used for target-practice, as it were, by better-informed teachers, but I hope my colleagues will find here something they can set before their students with reasonable confidence. Above all, I hope the book will straighten the path of those who, like myself a couple of decades ago, are trying to find their way in an initially foreign, often bewildering, but always fascinating and rewarding musical world. I am most grateful to the libraries which kindly supplied photographs for the plates. Plates 1, 4-6, 8-9, 11-14, and 18 are published by permission of the British Library; plates 2, 7, and 16 by permission of the Bodleian Library; plate 10 by permission of the Syndics of Cambridge University Library; plate 15 by permission of the Master and Fellows of University College, Oxford; and plate 17 by permission of Edinburgh University Library. In conclusion I wish to thank those who have played an especially important part in the production of the book: Malcolm Gerratt, who launched the project and fanned it along for several years; Bruce Phillips, who brought it into the safe haven of Oxford University Press, and the staff of OUP, especially Leofranc Holford-Strevens and Bonnie Blackburn, who did far more for the book than an author has a right to expect from his copy-editor. Greatest of all is my debt to my wife Ann, without whose patience and encouragement I should never have reached the end of the long voyage. D.H. CONTENTS Analytical Table xii List of Illustrations xxi List of Tables xxii List ofMusic Examples xxi v Note on Music Examples xxx Abbreviations xxxi Bibliography xxxiii I. Plainchant in the Liturgy 1 II. Chant Genres 46 III. Liturgical Books and Plainchant Sources IV. Notation Plates V. Plainchant and Early Music Theory VI. Plainchant up to the Eighth Century VII. The Carolingian Century VIII. Gregorian Chant and Other Chant Repertories IX. Persons and Places X. Reformations of Gregorian Chant XI. The...
A manuscript of the 15th century in the Bayerische Staatsbibliothek, M u n i c h , elm [= codex l... more A manuscript of the 15th century in the Bayerische Staatsbibliothek, M u n i c h , elm [= codex latinus monacensis] 14872, from St. Emmeram's, Regensburg, contains Vitae and liturgical offices of three saints specially venerated in Regensburg: Emmeram, Wolfgang and Denis. Fortunately, the chants are provided in elm 14872 with staff notation. There are also 11th-century sources with neume notation for the Emmeram and Denis offices, but not for the Wolfgang office. The music of the Wolfgang office has been published in transcription by Franz Stein, while the others remain unedited, although the text of the Emmeram office was published in A c t a Sanctorum. 1 I would like first of all to sketch in the historical background to these offices when and why they were composed and then I shall venture a few brief remarks about their compositional technique. The authors of the Emmeram and Denis offices have been known for some time, and there are strong indications, both documentary and s...
Page 1. The Norman Chant Traditions-Normandy, Britain, Sicilyl DAVID HILEY FOR practical reasons,... more Page 1. The Norman Chant Traditions-Normandy, Britain, Sicilyl DAVID HILEY FOR practical reasons, this paper concerns not the complete corpus of' Norman liturgical books, but simply those which contain music for mass ...
Balther of Säckingen was a remarkable scholar, writer and composer, who was born about 930, made ... more Balther of Säckingen was a remarkable scholar, writer and composer, who was born about 930, made bishop of Speyer in 970, and died in 986 or 987. Educated at the famous monastery in St. Gallen, he went as a wandering student in search of learning as far as North Spain. He had a special veneration for St Fridolin, founder of a convent in Säckingen. On his travels Balther found a copy of a Life of St Fridolin, memorized it, wrote it down on his return home, composed chants to be sung on the feast day of the saint, and sent both the Life (vita) and the chants (historia) to one of his former teachers at St. Gallen for approval. Balther says he composed them “per musicam artem”, “according to the art of music”. This paper tells how Balther’s chants came to be composed and compares them with others in order to understand what was considered to be “musical art” around 970.
... later owned by Arthur and Anthony II; parishes of St. Katherine Coleman and St. ... London) I... more ... later owned by Arthur and Anthony II; parishes of St. Katherine Coleman and St. ... London) In a recent EM article. 16th-century Venetian Wind Instrument Makers and Their Clients',1 Giulio M.Ongaro traces the origins of the Venetian Bassano family of instrument makers. ...
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